TELL ME ABOUT THE COCOBOLO NECK.

Thanks. It's a difficult topic for me because I don't own any rosewood-necked guitars of any species. It's such a beautiful wood, and I was deliberating over whether to specify it on a new build, but I've shied away from it for now. It's hard to say no to a good piece of maple.

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Agreed! I am a sucker for maple generally, followed by hog. I love the way a rosewood neck looks and I have owned a Brazilian Neck McCarty in the past, It sounded great... just different. That being said I find that I cannot really bond with the rosewood neck the same way as say a nitro finished maple or hog neck. Its a feel thing for me. Some people go crazy for the way an unfinished neck feels, it might be the only way to go for some. Don't get me wrong here, I love how they play and sound, if I had to describe it I would say a rosewood neck sounds a bit dark, very clear and great sustain. Maybe not as compressed and focused as a maple neck. Clear piano like bass, tight but somewhat restrained highs. It really all depends on what you want to do... Its another tool in the box.

Thanks. It's a difficult topic for me because I don't own any rosewood-necked guitars of any species. It's such a beautiful wood, and I was deliberating over whether to specify it on a new build, but I've shied away from it for now. It's hard to say no to a good piece of maple.

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How can this be possible :dontknow:

I am relatively sure you will take care of the situation soon enough :five:

I realize that I'm dredging up an old thread, but I have questions for Steve.

How does ziricote compare to mahogany as a neck wood in terms of tone and sustain?

I found this chart for properties as back woods. Would you say it holds true for neck woods?

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That's a very interesting chart. I have guitar necks made from all of those woods except myrtle. I believe there are so many components that contribute to the tone of a guitar that it is very difficult to single out one thing that makes it not work for an individual (and we are all certainly different as to what we like). I had a ziracote necked guitar that I just couldn't bond with; it just didn't seem to have that tone acoustically (ie. unplugged). Then I have others with ziracote that sound great. I have played a number of cocobolo necked guitars and thought they sounded good, and then I got this, and it's simply a tone monster (in the good sense ):

One interesting thing about that chart is that the very dense tropical hardwoods are grouped together as tone woods. That doesn't really surprise me. I would have to assume that it would hold true for necks as well. I certainly think that case is made when seeing where maple is presented in the pie chart for its tone.

While this may sound like a cop-out regarding your question, I wouldn't have a problem choosing any of those woods if all the other components work with it. That said, I haven't played a BRW neck that disappointed me.

Also, I'm typing this late at night, have the flu, and am medicated. I may wake up tomorrow, read this and say to myself.............WTF?

That's a very interesting chart. I have a guitar neck made from all of those woods except myrtle. I believe there are so many components that contribute to the tone of a guitar that it is very difficult to single out one thing that makes it not work for an individual (and we are all certainly different as to what we like). I had a ziracote necked guitar that I just couldn't bond with; it just didn't seem to have that tone acoustically (ie. unplugged). Then I have others with ziracote that sound great. I have played a number of cocobolo necked guitars and thought they sounded good, and then I got this, and it's simply a tone monster (in the good sense ):

One interesting thing about that chart is that the very dense tropical hardwoods are grouped together as tone woods. That doesn't really surprise me. I would have to assume that it would hold true for necks as well. I certainly think that case is made when seeing where maple is presented in the pie chart for its tone.

While this may sound like a cop-out regarding your question, I wouldn't have a problem choosing any of those woods if all the other components work with it. That said, I haven't played a BRW neck that disappointed me.

Also, I'm typing this late at night, have the flu, and am medicated. I may wake up tomorrow, read this and say to myself.............WTF?

Sorry, no ziricote experience (yet!) but between IRW and cocobolo, I feel like cocobolo has a more piano-like sustain -- not the warm bloom of the IRW -- but a more even wider-range sustain that doesn't seem as strong but lasts a long time. I would say cocobolo is "crisper", like a middling cross between maple and IRW. Cocobolo still has the somewhat scooped sound of RW, but it seems shifted to the lower mids more.

The cocobolo neck I have is lighter than some cocobolo, and due to the construction of the rest of the guitar it's a little iffy to make neck-only judgments. For what it's worth, I like it much more than IRW, but neither have the warm "snappy grunt" of mahogany.

I'd really be fascinated to hear an all-mahogany SC245 with a cocobolo neck. I don't think RW or maple would work out as well in that combo.

I'm interested in your opinion about the Cocobolo neck option. It looks sensational, no doubt. But as far as you can realize between your similar mahogany and your maple-necked guitars, how does your cocobolo neck differ? What does it do for your guitar?

Thanks!

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Compared to my other guitars my PRS with Cocobolo neck, headstock veneer and fretboard has more deep and high mids as well as highs to its sound. Well. I have to admit that comparison is quite hard as my LTD MH-350 NT has a THICK finish and doesn't sound that great acoustically and has EMGs in it and isn't compatible at all in this regard.
My other guitar is a Gibson SG so there is (through the maple and cocobolo) much more high mids and treble with less bass.

I don't know what wood jives with what, but all I know is that cocobolo fingerboard in combination with cocobolo veneer on the headstock with redwood top and obeche back is just plain killer. No clue as to which parts contribute, but the combination is second to none...

I don't know what wood jives with what, but all I know is that cocobolo fingerboard in combination with cocobolo veneer on the headstock with redwood top and obeche back is just plain killer. No clue as to which parts contribute, but the combination is second to none...

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Dude, I agree, the COCO HEADIE IS THE TONE SECRET! Gotta get me one of those. NICE RIG!!!

I've never played a cocobolo neck, but I'd never order one without trying one first. It's certainly a gorgeous wood. But I'm reminded of the video where Paul was talking about Brazilian rosewood. He said if you tapped BRW, it rang, but if you tapped cocobolo, it would go "duhhhh". It's at around 45 seconds into the video.

He said if you tapped BRW, it rang, but if you tapped cocobolo, it would go "duhhhh".

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Until you get the right piece and it is dry enough.
About the time of this video they had 2 cocobolo necks pieces. They sat drying for 10 years at which time they were perfect for a guitar. Paul agreed that it would be acceptable for the guitar I was building. It turned out great and more have been made since.

Imo you can't beat mahogany or maple as neck material. Visually rosewood looks awesome. It also feels nice. That being said, the tone has always left me a little under whelmed. It always seems to be pretty midrange focused to me. Cocobolo and ziricote are pretty for sure though.